University of Central Florida STARS Electronic Theses and Dissertations, 2004-2019 2016 Don't Let the World Rot: Anarchism, Hardcore Music, and Counterculture Pearson Bolt University of Central Florida Part of the Critical and Cultural Studies Commons, and the Ethnomusicology Commons Find similar works at: https://stars.library.ucf.edu/etd University of Central Florida Libraries http://library.ucf.edu This Masters Thesis (Open Access) is brought to you for free and open access by STARS. It has been accepted for inclusion in Electronic Theses and Dissertations, 2004-2019 by an authorized administrator of STARS. For more information, please contact [email protected]. STARS Citation Bolt, Pearson, "Don't Let the World Rot: Anarchism, Hardcore Music, and Counterculture" (2016). Electronic Theses and Dissertations, 2004-2019. 5128. https://stars.library.ucf.edu/etd/5128 DON’T LET THE WORLD ROT: ANARCHISM, HARDCORE, AND COUNTERCULTURE by PEARSON L. BOLT B.A. University of Central Florida, 2013 A thesis submitted in partial fulfillment of the requirements for the degree of Master of Arts in the Department of English in the College of Arts and Humanities at the University of Central Florida Orlando, Florida Summer Term 2016 Major Professor: Anthony Grajeda © Pearson Bolt 2016 ii ABSTRACT Hardcore music is intrinsically anarchistic. The hardcore music scene represents a radical departure from contemporary society. Rejecting the materialism, militarism, and hedonism of the mainstream music scene—and, by extension, modern culture—hardcore music presents an alternative lifestyle rooted in solidarity, equality, and liberty. Indeed, the culture of the hardcore scene approaches a transitive, nomadic model of an anarchistic commune built on resistance as a way of life. In this study, I identified the ways music and lyrics craft attitudes and environments for revolt and rebellion, cultivating critical thinking and disobedience in equal measures. In order to understand the hardcore community, I conducted interviews, studied political theory, analyzed the lyrics of hardcore bands, and synthesized the data to draw connections between major thematic elements of this community. I’ve found that hardcore music has created a countercultural ethos that subverts and defies political apathy and instigates direct action in order to revolutionize the political process and erect spaces of anarchic solidarity. Keywords: anarchy, hardcore, music, politics, counterculture iii For Barrett Brown, Jeremy Hammond, Edward Snowden, Chelsea Manning, Julian Assange, and the countless other journalists, dissidents, academics, and anarchists arrested, exiled, and executed by the State for crimes of conscience—may we follow your example and engage in protest, rebellion, direct action, and insurrection with songs of resistance on our lips. iv ACKNOWLEDGMENTS I wouldn’t have been able to complete this thesis without the assistance of Dr. Christian Beck, Dr. Anthony Grajeda, and Dr. Kevin Meehan, who’ve aided my education immeasurably. I want to also thank my supportive peers, specifically Amandelin Valentine, Victoria Polk, Benjamin Buckingham, Victoria Campbell, Chelsea Stone, and Sarah Horning, without whom I might never have finished the Literary, Cultural, and Textual Studies program at UCF. Furthermore, like anarchy, this thesis has a myriad of perspectives and I’d like to thank Sharrell Tai Love, Joshua Martin, and Bobby Griffin for taking the time to share their own experiences with politics and hardcore music with me. Lastly, to my parents: thank you for all the countless hours, tireless energy, financial support, and endless compassion—it does not go unnoticed or unappreciated. v TABLE OF CONTENTS LIST OF FIGURES .................................................................................................................................... vii CHAPTER ONE: THIS IS HARDCORE - A BRIEF HISTORY OF THE COUNTERCULTURAL MOVEMENT ............. 1 CHAPTER TWO: EMBRACE THOUGHT AND NEVER OBEY – A BRIEF INTRODUCTION TO ANARCHISTIC PHILOSOPHY .......................................................................................................................................... 11 CHAPTER THREE: I AM ANTI – DEFINITION IN NEGATION ....................................................................... 24 Bow To No Man ................................................................................................................................. 25 Old Men Keep Dreaming Up Battles for Young Men to Fight .............................................................. 29 The Things You Own End Up Owning You........................................................................................... 36 No Flags, No Holy Books .................................................................................................................... 42 Fuck Them, No Justice ....................................................................................................................... 45 CHAPTER FOUR: IF I CAN’T DANCE, I DON’T WANT TO BE PART OF YOUR REVOLUTION – PERFORMING GENDER................................................................................................................................................. 50 “Anarcha-Feminism” and Hardcore Punk ........................................................................................... 53 You’re Not Hardcore Unless You Live Hardcore .................................................................................. 55 The Content of Dissent ...................................................................................................................... 58 Smash the Patriarchy, Smash the State .............................................................................................. 70 CHAPTER FIVE: NO GODS, NO GOVERNMENT – RELIGION IN HARDCORE ............................................... 72 God is Dead…Right? ........................................................................................................................... 74 A Doctrine Bathed in Ignorance ......................................................................................................... 79 I Hate Your Hate ................................................................................................................................ 82 I Had to Blind Myself to Believe ......................................................................................................... 86 CHAPTER SIX: RESISTANCE IS A WAY OF LIFE – THE PERSONAL AS POLTIICAL ......................................... 90 This Cycle Ends With Me .................................................................................................................... 91 CHAPTER SEVEN: YOU SAY “FUCK THE WORLD,” WE SAY, “FUCK YOU” .................................................. 97 REFERENCES ........................................................................................................................................ 103 vi LIST OF FIGURES Figure 1: The black flag, a symbol of anarchistic resistance. ..................................................................12 Figure 2: The “anarchist A” or “Circle-A,” another popular anarchist symbol. ............................................13 vii CHAPTER ONE: THIS IS HARDCORE - A BRIEF HISTORY OF THE COUNTERCULTURAL MOVEMENT By its very nature, hardcore music resists codification. While one could reasonably chalk up a list of qualities that make a song “hardcore,” to do so would inevitably prove a lesson in futility, since hardcore is as much defined by its versatility as its experimentation. This is due, in no small part, to the creativity and innovation displayed by hardcore musicians and those who are involved in the scene—whether as promoters, venue organizers, or simple fans. In short, this creative element is bolstered by the countercultural resistance of those in the hardcore scene, which frequently expresses itself in the radical politics of anarchism. But how does that resistance exist in a way that defies commodification? Where do musicians tour and how do they support their rigorous schedules of playing shows, recording new albums, and doing press? Why is the hardcore community a “counterculture” and not a “subculture”? Perhaps most importantly, how does hardcore—unlike punk, which paved the way for the genre in so many ways—refuse to become a part of mainstream culture and, in so doing, model a radical departure from sociocultural apathy? I argue that hardcore’s culture-building process, which instigates an engaging, inclusive, diverse, and revolutionary alternative to contemporary society, is arguably hardcore’s greatest contribution to modern culture. In studying how and why hardcore operates under its ethos of solidarity, equality, and liberty and by understanding the anarchistic politics at the heart of this countercultural movement, we can begin to challenge and interrogate the political antipathy in mainstream music and society, at large. Hardcore music challenges the popular notion that anarchy “does not work” or “isn’t practical” by putting anarchistic philosophy into practice. 1 Hardcore has its roots in the late 70’s and early 80’s music scene, organically evolving from a fusion of punk and hip-hop. They called it hardcore. From punk, hardcore borrowed the anti-authoritarian, chaotic, “fuck you” attitude. Hardcore inherited its groove, girth, and rhythm from hip-hop. It was more than just a musical subgenre, though. Hardcore, with its incessantly rebellious nature, was not apolitical